Jane Austen and Performance, Softcover reprint of the original 1st ed. 2017


Language: Anglais
Cover of the book Jane Austen and Performance

Subjects for Jane Austen and Performance

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This is the first exploration of the performative and theatrical force of Austen?s work and its afterlife, from the nineteenth century to the present. It unearths new and little-known Austen materials: from suffragette novels and pageants to school and amateur theatricals, passing through mid-twentieth-century representations in Scotland and America. The book concludes with an examination of Austen fandom based on an online survey conducted by the author, which elicited over 300 responses from fans across the globe. Through the lens of performative theory, this volume explores how Austen, her work and its afterlives, have aided the formation of collective and personal identity; how they have helped bring people together across the generations; and how they have had key psychological, pedagogical and therapeutic functions for an ever growing audience. Ultimately, this book explains why Austen remains the most beloved author in English Literature.
Introduction.- 1. Jane Austen and Suffrage.- 2. Jane Austen and the Theatre of War.- 3. Early Re-enactments.- 4. Reinscribing Emma.- 5. Jane Austen Abroad.- 6. Women’s Rewritings.- 7. Jane and Fans.- Epilogue.- Appendix: Jane Austen on the Scottish Stage, 1940-1960.- Bibliography.- Index.
Marina Cano is a teaching fellow in Women’s Writing in English at the University of Limerick, Ireland. Her research interests include women’s writing, the long nineteenth-century, performance and gender theory. She is also a researcher in “Travelling Texts 1790-1914: Transnational Reception of Women’s Writing at the Fringes of Europe.”
Adopts an interdisciplinary, historical approach
Explores new unexamined materials, such as suffrage novels, theatrical productions in Scotland and performances at schools and amateur clubs in Britain and America
Has strong focus on Austen’s print and stage afterlives, not fully addressed by any of the recent studies of Austen’s reception